1953 Bare-handed Tycoon - Chapter 359
Only Noblemtl
359 – The Film Business
On Sunday, January 28, 1962, the Peace Theater, which had been acquired by Kijo, changed its name to Cheongsan Theater and reopened.
We changed the restroom to be more hygienic, increased the spacing between seats, and added two armrests to each chair to prevent people from fighting over the armrests of the person next to them.
When you enter the movie theater, we give it a fresh coat of paint and remove old furniture and wooden decorations to make it feel brighter.
The waiting room is equipped with a TV and benches to ensure that you won’t get bored while waiting for the movie to start.
The reopening ceremony was attended by many actors who were exclusive to , which was founded by Im Hwa-soo, and actors who were under Im Hwa-soo’s influence.
The event was graced by the most popular actors of the time, including Kim Seung-ho, Kim Jin-gyu, Yoon Il-bong, Joo Sun-tae, Choi Moo-ryong, Dokgo Seong, Lee Ye-chun, Heo Jang-gang, and Park No-sik.
These were actors who met through Im Hwa-su’s arrangement while attending the March 1st Movement commemoration ceremony held at Dongdaemun Stadium in 1959.
As Kijo entered the movie theater, Kim Hee-ra’s father Kim Seung-ho was the first to run over and greet Kijo.
“Oh my, is the CEO here?”
“How are you?”
“Yes, thanks to you, sir, I am at ease. Hahaha.”
Kim Seung-ho, who was 13 years older than Kijo, kept bowing to Kijo and greeting him.
He was almost killed during the April 19 Revolution because he was dragged to Im Hwa-su’s political events in the 1950s and appeared as a speaker several times.
He barely managed to survive, but was forced to retire. However, Kijo was able to make a brilliant comeback by having him make a film at Hwaseong Film Company, led by Lee Hwa-ryong.
That film was the first Korean film to win an award at a Western international film festival.
In 1961, it won the Special Silver Bear Award of the Jury at the Berlin International Film Festival.
After achieving such great success, the comedy film “Chief of Staff” produced by Cheongsanheungup also became successful, and the company was enjoying a second heyday.
Kim Seung-ho kept expressing his gratitude to Ki-jo.
“If it weren’t for you, I would have just been left behind as trash. Thank you so much.”
“What are you talking about? It’s all thanks to your acting skills. The best actor in Korea is so humble.”
“Am I the best actor? The best actor is this guy next to me. Hahaha.”
Kim Seung-ho tapped the shoulder of Kim Jin-gyu, who was standing next to him.
Kim Jin-gyu bowed his head to Kijo and greeted him.
Kim Jin-gyu was also enjoying the best stock price in the 1960s.
Keynote was uncomfortable with having to bow to actors who were much older than him.
Kijo greeted Kim Jin-gyu, holding his hands with both of his.
“Actor, you can just say hello to me.”
“What are you talking about? You should properly greet the CEO of your agency.”
No matter how much Kijo tried to treat him like an older brother, Kim Jin-gyu was always polite.
It seemed to be a habit acquired from being tormented by Im Hwa-su in the 50s.
Kim Jin-gyu, who is currently the most successful superstar as the lead actor in Cheongsanheungup’s mega hit , , and , is humble and polite.
After greeting the other actors, Kijo went to see the directors.
Not only movie stars but also great directors attended the Cheongsan Theater.
Director Yu Hyun-mok, who directed , and Shin Sang-ok, who directed and .
There was also Lee Man-hee, who is still a new film director but would go on to make masterpieces such as and .
Kijo greeted film director Lee Man-hee, who is similar in age to him, comfortably.
“Director, is the new script being completed?”
“Yes, I’m planning a big war movie with a Marine as the main character. I’d like the military to support me, but I’m not sure if that will work out.”
As expected, Lee Man-hee was planning a ‘Marine that never returns’ in this history as well.
The early 1960s would be a time of war film boom, with Lee Man-hee and Shin Sang-ok producing the two most influential Korean War films, The Marines Who Never Return and The Red Scarf, respectively.
“When the script is complete, please send me a copy. I will go to the Ministry of National Defense and ask for their cooperation in production.”
The military’s support for films was common even in the 1950s, so it was not a request for special treatment from Gijo.
After talking with Lee Man-hee, Kijo greeted several hit directors including Yu Hyun-mok, Shin Sang-ok, and Kim Ki-young.
Director Yoo Hyun-mok is also planning a film about ‘Yi Sun-sin’ and hopes to receive support from the military.
The keynote speech was solid as I saw the actors and directors who were exclusively affiliated with Cheongsanheungup and the film industry with whom I had friendly relationships.
The legacy of the disbanded Im Hwa-soo’s was largely absorbed into Cheongsanheungup, and the best lineup of actors, directors, etc. were formed.
These were the people who would lead the development of the Korean film industry for the next 10 years or more.
Cheongsan Theater was to be a theater exclusively for the release of their masterpieces and would become a buttress for Korean films competing against foreign films.
The day after the successful opening ceremony, I received a call from the Central Intelligence Agency.
It was a call to come to the Central Intelligence Agency with one Cheongsanheungup worker and two Cheongsanheungup representatives.
Kijo headed to the Central Intelligence Agency in Namsan with Won Tae-sik, Lee Man-hee, and director Yoo Hyun-mok.
When we arrived at the Central Intelligence Agency and identified ourselves, an executive came out and guided Kijo and his party.
The place the keynote party was taken to was the office of Seok Jeong-seon, the deputy director of the Central Intelligence Agency.
The keynote speech was given to Seok Jeong-seon, the second-highest ranking official in the Central Intelligence Agency and a friend of Kim Jong-pil.
“Nice to meet you. I’ve heard a lot about you.”
Seok Jeong-seon, who pretended to know the keynote, was a man with a dirty impression.
He was wearing a military jacket and shook hands happily with Won Tae-sik, Shin Sang-ok, and Yoo Hyun-mok, who had brought him here with a friendly impression.
However, the keynote speech noted that he was a seasoned figure in the intelligence service.
Although he was a man well-versed in literature and philosophy, I thought that the reason he brought filmmakers to the Central Intelligence Agency was not simply to promote the arts.
Seok Jeong-seon, sitting on the sofa, praised directors Lee Man-hee and Yoo Hyun-mok.
Even if Lee Man-hee was like that, Yoo Hyun-mok, who filmed , looked a little uncomfortable.
In the movie , the mother of the main character was a mentally unstable displaced person, and there was a scene where she shouted, “Let’s go home!” and the Central Intelligence Agency stopped showing the movie, claiming that it was like her shouting, “Let’s go to North Korea!”
Director Yoo Hyun-mok was also taken to the Central Intelligence Agency for interrogation.
Perhaps because of that memory, Director Yoo Hyun-mok had difficulty making eye contact with Seok Jeong-seon.
“The reason I invited you four is to show you a movie.”
As Seok Jeong-seon gave instructions to his secretary, thick blackout curtains were drawn on the office window and the projector started running.
A movie was being projected on one wall of the office, and surprisingly, it was a North Korean movie.
“Right after the revolution, we exchanged films with North Korea. We sent ‘Seong Chun-hyang’ made by Cheongsanheungup, and North Korea sent a film called ‘Pyongyang in Bloom.’ This film is none other than ‘Pyongyang in Bloom.’”
The films sent by North Korea were largely propaganda films for the regime.
The film continued to show the upright and developed appearance of Pyongyang and the people living in the communist paradise.
Won Tae-sik, Lee Man-hee, and Yu Hyun-mok looked perplexed as to why the Central Intelligence Agency was showing them North Korean films.
But the keynote seemed to be that I knew why they were showing North Korean films.
“The movies we sent to North Korea were more entertaining and well-made than the North Korean movies. I think the North Korean kids also enjoyed them.”
Seok Jeong-seon said while smoking a cigarette.
“But, there are more than a few things that are uncomfortable when watching North Korean movies. Especially the scenes of Pyongyang. Doesn’t anyone see that it is more developed than Seoul?”
No one could answer Seok Jeong-seon’s question.
It was because I didn’t know what would happen if I admitted in front of the intelligence agency officials that North Korea was more developed than South Korea.
When Kijo took out a cigarette and smoked it first and delayed answering, Won Tae-sik, Lee Man-hee, and Yoo Hyun-mok quickly took out cigarettes and put them in their mouths.
Seok Jeong-seon, who saw that sight, laughed heartily and said.
“I know you all feel uncomfortable speaking frankly, but that’s okay. Isn’t that fucking Pyongyang much more developed than Seoul?”
But no one answered and he just kept smoking his cigarette, so he said.
“After watching this movie, Chairman Park also acknowledged it. He said, ‘It’s a big deal that Seoul needs to be developed more than Pyongyang.’, ‘Honestly, I’m jealous.’”
When Chairman Park said that, Won Tae-sik nodded.
It was shocking to see North Korea living better than South Korea, but everyone was envious and thought that they had to develop more than North Korea.
“South and North Korea are competing fiercely, so the film industry must also beat North Korea. That’s why… … .”
Seok Jeong-seon said, putting his cigarette out in the ashtray.
“I hope you make a movie that depicts the Republic of Korea developing its industry through Cheongsanheungup, and a war movie about our military’s victory during the Korean War.”
After hearing Seok Jeong-seon’s intentions, Won Tae-sik and the two directors finally nodded with expressions of relief.
“Will you, Mr. Representative, help me?”
“Yes, making good movies is also our job.”
When Kijo agreed, Seok Jeong-seon smiled brightly and said.
“Pull the curtains.”
At Seok Jeong-seon’s instruction, the secretary turned off the projector and opened the blackout curtains.
And I opened the window to let out the cigarette smoke that had filled the office.
“The military will provide extensive support for war films, and how about filming industrial films in a factory owned by Cheongsan? I would like to see a fertilizer factory worker date a girl from the countryside, get married, have children, and take care of his parents and be filial….”
Won Tae-sik quickly wrote down Seok Jeong-seon’s order in his notebook.
“I would like the movie to come out sometime late this fall at the latest. Is that possible?”
Seok Jeong-seon’s intentions were read.
It wasn’t simply a request to make a film to win the systemic competition with North Korea.
The aim was to commission a film that would create public opinion favorable to the elections ahead of the general elections scheduled for this winter.
Kijo asked Taesik.
“Director Won, do you think it’s possible?”
“Yes, it is possible.”
Won Tae-sik said confidently.
I also asked Man-hee Lee, who is writing the screenplay for .
“Director, is the script almost finished?”
“Yes, I can send it to you.”
“Please give one copy each to me and Vice President Seok.”
The keynote speech was also asked to director Yoo Hyun-mok.
“Director Yoo, has the script for ‘Admiral Yi Sun-sin’ that you are preparing come out?”
“yes.”
“Please.”
Seok Jeong-seon expressed his delight at the news that they were planning to make a movie about Yi Sun-sin.
“I like the great hero Yi Sun-sin. Does King Seonjo appear in it too?”
“Yes.”
Yoo Hyun-mok answered with a stern expression.
“What about the role?”
“I have Mr. Seungho Kim in mind.”
When it was announced that comedian Kim Seung-ho had been cast as the role of Seonjo, Seok Jeong-seon was delighted. It seemed that he had figured out the intention to mock Seonjo.
“Okay. Mr. Seungho Kim is a really good actor, isn’t he?”
Kijo seemed to know why Seok Jeong-seon welcomed the Yi Sun-sin movie.
Chairman Park habitually disparaged the 500-year history of the Joseon Dynasty, emphasizing that the corruption and factional strife of the incompetent king and his subjects still continue to this day and that it should be abolished.
At the same time, he greatly respected Yi Sun-sin.
It seemed inevitable that he would welcome the news that a movie would be released that matched his political views.
“Then what will happen to industrial films?”
“There are many directors at Cheongsanheungup who are good at making romantic films.”
“If possible, I would like to leave it to director Shin Sang-ok. Didn’t he make successive successful romance films?”
“I’ll ask Director Shin Sang-ok first.”
“Please do so.”
Seok Jeong-seon was very satisfied and praised Cheongsanheungeop.
They promised to provide generous support, saying it was the best entertainment and film company in Korea.
The place was empty, everyone stood up and left, and Seok Jeong-seon called out the keynote speech.
And he said in a small voice.
“The Chief of Staff wanted to meet you in person, but I haven’t been able to find the time because I’ve been so busy lately. Please tell him I’m sorry.”
The keynote speaker nodded and said.
“Please tell Manager Kim to take care of his health.”
“Yes. As rumored, this representative is very refreshing. I ask for your continued support.”
Kijo shook hands with Seok Jeong-seon and left the Central Intelligence Agency.
I knew that the film industry had a bright future, but at the same time, I was depressed by the thought that the government would heavily intervene in film production.
I just hoped that no one would find fault with the actors’ lines or facial expressions.
I was prepared to accept the special characteristics of the 1960s as long as there was common-sense censorship.
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